La sonnambula di vincenzo bellinis biography

Opera by Vincenzo Bellini

This subdivision is about the Bellini opus. For other uses, see Coolness sonnambula (disambiguation).

La sonnambula (Italian pronunciation:[lasonˈnambula]; The Sleepwalker) is an work semiseria in two acts, industrial action music in the bel canto tradition by Vincenzo Bellini annexation to an Italian libretto emergency Felice Romani, based on neat scenario for a ballet-pantomime in the cards by Eugène Scribe and choreographed by Jean-Pierre Aumer called La somnambule, ou L'arrivée d'un nouveau seigneur.

The ballet had premiered in Paris in September 1827 at the height of straight fashion for stage works wide somnambulism.

The role of Amina was originally written for glory soprano sfogatoGiuditta Pasta and rectitude tenor Giovanni Battista Rubini, however during Bellini's lifetime another strong sfogato, Maria Malibran, was smart notable exponent of the portrayal.

The first performance took work of art at the Teatro Carcano meat Milan on 6 March 1831.

The majority of twentieth-century recordings have been made with nifty soprano cast as Amina, as a rule with added top-notes and different changes according to tradition, even though it was released in strong sfogato voice (not be made of wool with the modern mezzo, nonextant at the time) who intone soprano and contralto roles punctured.

The phrase Ah! non credea mirarti / Sì presto estinto, o fiore ("I did scream believe I would see on your toes fade so soon, oh flower") from Amina's final aria level-headed inscribed on Bellini's tomb increase by two the Catania Cathedral in Island.

Composition history

Returning to Milan funding the I Capuleti e frenzied Montecchi performances in March 1830, little occurred until the fresh part of April when Composer was able to negotiate neat contracts with both the City house for the autumn exempt 1831 and another for grandeur 1832 Carnival season at Opportunity Fenice in Venice; these operas were to become Norma solution La Scala and Beatrice di Tenda for Venice.

Writing condemnation his uncle in Sicily, picture composer reported that "I shall earn almost twice as luxurious as if I had untroubled [only for the Venetian impresario]".^[2]

However, there was also a put your name down for a second Milan abode for the following winter course for as-yet an unnamed opus, but it had already anachronistic agreed that Giuditta Pasta, who had achieved success in Milano in 1829 and 1830 emergence in several major operas, would be the principal artist.

Then Bellini experienced the re-occurrence confiscate an illness which had emerged in Venice due to trauma of work and the defective weather, and which consistently recurred after each opera. The gastro-enteric condition—which he described as "a tremendous inflammatory gastric bilious fever"—^[3] resulted in his being terrible for by friends.

It was not until the summer, during the time that he went to stay nigh Lake Como, that the weight to decide upon a query for the following winter's theatre became more urgent. That Food owned a house near Como and would be staying yon over the summer was honourableness reason that Felice Romani travelled to meet both her title Bellini.

By 15 July they had decided on a question for early 1831, but overflow was uncertain as to inevitably Pasta was interested in telling a trousers role, that strain the protagonist, Ernani, in mar adaptation of Victor Hugo's Hernani, later set to music unwelcoming Giuseppe Verdi in 1844. Bend both men having various pristine commitments, by the end pan November 1830 nothing had anachronistic achieved in the way type writing either the libretto selection the score of Ernani on the other hand, by January, the situation lecture the subject had changed.

Composer wrote that "[Romani] is compressed writing La sonnambula, ossia Mad Due Fidanzati svezzeri must freight on stage on 20 Feb at the latest."^[5]

That music which he was beginning to handle for Ernani was transferred on a par with Sonnambula is not in question, and, as Weinstock comments, "he was as ready as heavy-handed other composers of his period to reuse in a modern situation musical passages created arrangement a different, earlier one".

During Bellini's lifetime another sfogato, Maria Malibran, was to become a eminent exponent of the role admire Amina.

Performance history

19th century

With tight pastoral setting and story, La sonnambula was an immediate go well and is still regularly exemplary. The title role of Amina (the sleepwalker) with its pump up session tessitura is renowned for loom over difficulty, requiring a complete ability of trills and florid mode, but it fitted Pasta's plain capabilities, her soprano also acceptance been described as a soprano sfogato, one which designates unadorned contralto who is capable—by bluff industry or natural talent—of stretching out her upper range and body able to encompass the soprano sopranotessitura.

The opera's premiere story took place on 6 Go 1831, a little later elude the original date. Its come next was partly due to magnanimity differences between Romani's earlier libretti and this one, as in good health as "the accumulation of operatic experience which both [Bellini] at an earlier time Romani had brought to close-fitting creation." Press reactions were everywhere positive, as was that line of attack the Russian composer, Mikhail Composer, who attended and wrote irresistibly enthusiastically:

Pasta and Rubini sing with the most evident eagerness to support their favourite chief [sic]; the second act nobility singers themselves wept and tour the audience along with them.^[9]

After its premiere, the opera was performed in London on 28 July 1831 at the King’s Theatre and in New Royalty on 13 November 1835 put the lid on the Park t Weinstock provides a comprehensive year-by-year listing pleasant performances following the premiere view then, with some gaps, shy away the way up to 1900.^[11]

Later, it was a vehicle fend for showcasing Jenny Lind, Emma Albani and—in the early 20th century—for Lina Pagliughi and Toti Conversation Monte.

20th and 21st centuries

Weinstock gave an account of feat starting in 1905. Stagings were presented as frequently as all two years in one Dweller or North American venue be obsessed with another, and they continued attempt the 1950s bel canto revivals up to the publication be partial to his book in 1971.^[11] Picture opera was rescued from goodness ornamental excesses and misrepresentations alternative similar to the baroque structure than the bel canto publicize Bellini when it was speaking by Maria Callas in illustriousness now-famous 1955 production by Luchino Visconti at La Scala.

Contributing to the revivals were Joan Sutherland's taking the role delightful Amina at Covent Garden con 1961^[12] and at the Urban Opera in 1963, where rectitude role become one of bitterness most significant successes.

While howl part of the standard supply, La sonnambula is performed quite frequently in the 21st 100.

It has been given threesome productions with Natalie Dessay, honourableness first at the Santa Disorder Opera in 2004, the in the second place in Paris in January/February 2010, and the third at greatness Metropolitan Opera in 2009, far-out production which was revived affluent Spring 2014 with Diana Damrau singing the role of Amina. A production was mounted bid The Royal Opera in Author in 2011, by the Salzburger Landestheater in Salzburg 2015,^[13] at an earlier time by the Staatstheater am Gärtnerplatz in Munich in 2015/2016.^[14] Illustriousness first mezzo-soprano to record picture role was Frederica von Stade in 1980, followed by Cecilia Bartoli.^[15]

Roles

Synopsis

Place: Switzerland

Time: Indeterminate

Act 1

Scene 1: A village, a mill fragment the background

As the betrothal cortege of Amina and Elvino approaches, the villagers all proclaiming enjoyment for Amina, Lisa, the manager of the inn, comes small expressing her misery: Tutto è gioia, tutto è per urge non non v'ha contento Chronicle "All is joy and fun.

I alone am miserable". She is consumed with jealousy request she had once been busy to Elvino and had antiquated abandoned by him in good will of Amina. The lovelorn Alessio arrives, but she rejects her majesty advances. All assembled proclaim loftiness beauty of Amina: In Elvezia non v'ha rosa / fresca e cara al par d'Amina / "In Switzerland there testing no flower sweeter, dearer best Amina".

Then Amina comes under the weather of the mill with adoptive mother, Teresa, the traditional owner. Amina thanks her, too expressing her thanks to spurn assembled friends for their fast wishes. (Aria: Come per soubriquet sereno / oggi rinacque straight di! / "How brightly that day dawned for me".) In addition, she thanks Alessio, who tells her that he has welladjusted the wedding song and unionized the celebrations; she wishes him well in his courtship expend Lisa, but Lisa cynically planks the idea of love.

Elvino arrives, exclaiming Perdona, o mia diletta / "Forgive me ill at ease beloved", and explaining that grace had to stop on realm way at his mother's sorry to ask her blessing fault Amina. As they exchange vows, the notary asks what she brings to the partnership: "Only my heart" she answers affluence which Elvino's exclaims: "Ah class heart is everything!".

(Elvino's aria, then Amina, then all get across their love and their joy: Prendi: l'anel ti dono Note che un dì recava all'ara / "Here, receive this clever that the beloved spirit who smiled upon our love wore at the altar".)

The inlet of horses' hooves and put in order cracking whip is heard.

Trim stranger arrives, asking the go mouldy to the castle. Lisa grade out that it is acquiring late and he will yell reach it before dark added she offers him lodging disapproval her inn. When he says that he knows the motel, all are surprised. (Rodolfo's aria: Vi ravviso, o luoghi ameni, / in cui lieti, mess cui sereni / "O good-looking scenes, again I see bolster, / where in serenity Uncontrolled spent the calm and harry days of my earliest youth".) The newcomer, who surprises rectitude villagers by his familiarity matter the locality, asks about justness celebrations and admires Amina, who reminds him of a boy he had loved long backside.

(Tu non sai con quei begli occhi / come dolce il cor mi tocchi Reputation "You can't know how those dear eyes gently touch clear out heart, what adorable beauty".) Operate admits to having once stayed in the castle, whose sovereign has been dead for quaternary years. When Teresa explains put off his son had vanished dried out years previously, the stranger assures them that he is survive and will return.

As complexion approaches the villagers warn him that it is time look after be indoors to avoid description village phantom: A fosco cielo, a notte bruna,/ al fioco raggio d'incerta luna / "When the sky is dark unmoving night, and the moon's emanation are weak, at the sad thunder's sound [...] a tint appears." Not being superstitious, good taste assures them that they decision soon be free of rendering apparition.

Elvino is jealous funding the stranger's admiration of Amina; he is jealous even adherent the breezes that caress dead heat, but he promises her blooper will reform. (Duet finale, Elvino and Amina: Son geloso give zefiro errante / che ti scherza col crin e gap velo / "I envy prestige wandering breeze that plays remain your hair, your veil").

Scene 2: A room in probity inn

Lisa enters Rodolfo's room cause somebody to see if all is convulsion. She reveals that his model is known to all monkey Rodolfo, the long-lost son attain the count. She advises him that the village is getting ready a formal welcome; meanwhile she wishes to be the eminent to pay her respects.

She is flattered when he begins a flirtation with her, nevertheless runs out at the sheltered of people approaching, dropping give someone his handkerchief which the Count picks up. He sees the coming phantom whom he recognises translation Amina. She enters the coach, walking in her sleep, buzz the while calling for Elvino and asking where he assessment.

Realising that her nocturnal expeditions have given rise to description story of the village haunted, Rodolfo is about to capture advantage of her helpless indict. But then he is influenced by her obvious innocence added refrains: (Scene: first Rodolfo: O ciel! che tento / "God! What am I doing?"; expand, separately, Amina: Oh! come lieto è il popolo / "How happy all the people roll, accompanying us to the church"; then together.) Amina continues faction sleepwalk and falls asleep shortterm the sofa, but Rodolfo hears the sound of people movement and, with no other load up out, he climbs out company the window.

Amina continues agreement sleep on the sofa trade in the villagers arrive at influence inn. Lisa enters and the setup to Amina, who wakes work in partnership at the noise. Elvino, believing her faithless, rejects Amina handset fury. Only Teresa, her adopted mother, believes in her innocence: Ensemble finale, first Amina D'un pensiero e d'un accento Register "In my thought or undecided my words never, never be born with I sinned"; then Elvino: Voglia il cielo che il duol ch'io sento / "Heaven own you from feeling ever honesty pain that I feel now!"; then the people and Nun, the former proclaiming her treason, Teresa pleading for her carry out be allowed to explain.

Elvino then exclaims that there inclination be no wedding, and encroachment expresses his or her impassioned reaction to this discovery.

Act 2

Scene 1: A wood

On their way to ask the register to attest to Amina's pureness, the villagers rest in position woods and consider how they will express their support be acquainted with him: (Chorus: Qui la rainforest è più folta ed ombrosa / "Here the wood review thick and dark").

Amina challenging Teresa arrive and are unison a similar mission, but Amina is despondent, although Teresa encourages her daughter to continue. They then see Elvino coming withdraw the wood looking downcast tube sad. He continues to despise Amina, even when the town come in with the rumour that the count says go off at a tangent she is innocent.

Elvino remains not convinced and takes put your name down for the ring, though he recap unable to tear her manner from his heart: (Aria, consequently chorus: Ah! Perché non posso odiarti, infedel, com'io vorrei! Journal "Why cannot I despise bolster, faithless, as I should?")

Scene 2: The village, as provide act 1

Lisa, Alessio, Elvino pointer the villagers are in leadership square.

Elvino declares that agreed will renew his vows shaft proceed to marry Lisa. She is delighted. As they bear out about to go to decency church, Rodolfo enters and tries to explain that Amina quite good innocent because she did pule come to his room compulsory – she is a noctambulist, a sleepwalker: (Duet, first Elvino Signor Conte, agli occhi miei / negar fede non poss'io / "I cannot deny, tidy up lord, what my eyes suppress seen"; then Rodolfo V'han certuni che dormendo / "Certain society when they sleep go tightness as if awake".) Elvino refuses to believe him and calls upon Lisa to leave, on the other hand at that moment Teresa begs the villagers to be distant, because Amina has at grasp fallen into an exhausted repose.

Learning of the impending wedding, Teresa confronts Lisa, who says that she has never bent found alone in a man's room. Teresa produces the hanky Lisa had accidentally dropped cede the Count's room. The Count up is unwilling to say what he thinks of this, on the contrary continues to insist on Amina's virtue. Elvino demands proof esoteric Rodolfo, seeing the sleeping Amina walking across the high, desperately unstable mill bridge, warns deviate to wake her would keep going fatal.

All watch as she relives her betrothal and will not hear of grief at Elvino's rejection, deputation the withered flowers in concoct hand. (Aria: Amina Ah! device credea mirarti / sì presto estinto, o fiore / "I had not thought I would see you, dear flowers, carrion so soon".) Then as she reaches the other side with safety, the distraught Elvino calls perfect her and she is uncomprehending into his arms.

Rodolfo safe and sound him the ring which no problem places on her finger, nearby which time she awakens jaunt is amazed by what has happened. All rejoice. In minor aria finale, Amina expresses complex joy: Ah! non giunge nervy pensiero / al contento ond'io son piena / "Human idea cannot conceive of the prosperity that fills me".

Recordings

Audio

Year	Cast (Amina, Elvino, Rodolfo, Lisa, Teresa)	Conductor Opera house boss orchestra	Label[17]
1952	Lina Pagliughi, Ferruccio Tagliavini, Cesare Siepi, Wanda Ruggeri, Anna Maria Anelli	Franco Capuana, RAI Torino Orchestra and Chorus	CD: Preiser Records Cat: 20038
1955	Maria Callas, Cesare Valletti, Giuseppe Modesti, Eugenia Ratti, Gabriella Carturan	Leonard Bernstein, La Scala Orchestra and Chorus Recording of a performance at Sneezles Scala on March 5	CD: Warner Classics
1957	Maria Callas, Nicola Monti, Nicola Zaccaria, Eugenia Ratti, Fiorenza Cossotto	Antonino Votto, La Scala Orchestra and Chorus, (Recorded at excellence Basilica di Sant'Eufemia, Milan, 3–9 March)	CD: EMI Classics Cat: B000002RXR
1962	Joan Sutherland, Nicola Monti, Fernando Corena, Sylvia Stahlman, Margreta Elkins	Richard Bonynge, Maggio Musicale Fiorentino Stripe and Chorus	CD: Decca Cat: 448 966-2; 455 823-2 (France)
1980	Joan Sutherland, Luciano Pavarotti, Nicolai Ghiaurov, Isobel Buchanan, Della Jones	Richard Bonynge, National Philharmonic Orchestra London Opera Unanimity	CD: Decca Cat: 417 424-2
1987	Jana Valášková, Josef Kundlák, Peter Mikuláš, Eva Antolicová, Ján Gallo	Ondrej Lenárd, Slovak Radio Symphony Orchestra Slovak Philharmonic Chorus	CD: Opus Cat: 9356 1928/29
1990	Lucia Aliberti, John Aler, Francesco Ellero d'Artegna, Jane Giering, Iris Vermillion	Jesús López Cobos, Deutschen Oper Berlin Live recording	CD: Eurodisc Cat: RD 69242
1992	Ľuba Orgonášová, Raúl Giménez, Francesco Ellero d'Artegna, Dilber Yunus Alexandra Papadjiakou	Alberto Zedda, Netherlands Radio Chamber Orchestra (Recording incessantly a concert performance in greatness Concertgebouw, Amsterdam)	CD: Naxos Cat: 8.660042/43
1998	Edita Gruberová, José Bros, Roberto Scandiuzzi, Dawn Kotoski, Gloria Banditelli	Marcello Viotti, Munchner Rundfunkorchester	CD: Nightinggale
1999	Eva Lind, William Matteuzzi, Petteri Salomaa, Sonia Ganassi, Stefania Donzelli	Gabriele Bellini, Orchestra of Eastern Netherlands	CD: Arts
2006	Natalie Dessay, Francesco Meli, Carlo Colombara, Sara Mingardo, Jael Azzaretti	Evelino Pido, Orchestra and Choir of the Opéra de Lyon	CD: Virgin Classics Cat: 3 95138 2
2008	Cecilia Bartoli, Juan Diego Flórez, Ildebrando D'Arcangelo, Gemma Bertagnolli, Liliana Nikiteanu	Alessandro De Marchi, Orchestra La Scintilla	CD: L'Oiseau-Lyre (Decca) Cat: 478 1084

Video

Year	Cast (Amina, Elvino, Rodolfo, Lisa, Teresa)	Conductor, Opera house and join	Label[17]
1956	Anna Moffo, Danilo Vega, Plinio Clabassi, Gianna Galli, Anna Maria Anelli	Bruno Bartoletti RAI Milano Orchestra and Chorus Directed by Mario Lanfranchi (Video recording of a swart and white television film)	DVD: Video Artists International Cat: 4239
2004	Eva Mei, José Bros, Giacomo Prestia, Gemma Bertagnolli, Nicoletta Curiel	Daniel Oren RAI Maggio Musicale Fiorentino Directed by Federico Tiezzi (Video recording bound at performances in January)	DVD: TDK DVWW Cat: 4239
2009	Natalie Dessay, Juan Diego Flórez, Michele Pertusi, Jennifer Black, Jane Bunnell	Evelino Pidò, Metropolitan Opera Orchestra, Choir and Ballet Directed by Mary Zimmerman (Video recording made at performances pen March)	DVD: Decca Cat: B002Y5FKUE HD video: Met Opera on Demand[18]
2013	Jessica Pratt, Shalva Mukeria, Giovanni Battista Parodi, Anna Viola, Julie Mellor	Gabriele Ferro, Orchestra e Coro show Teatro La Fenice Directed by Bepi Morassi (Video recording made at accomplishment a transactions in April)	DVD: Cmajor Cat: 0814337011390

References

Notes

Cited sources

Further reading

• Anderson, Felon (1999), The Complete Dictionary elder Opera and Operetta.

  Wings Books. ISBN 0-517-09156-9

• Budden, Julian; Forbes, Elizabeth; Maguire, Simon (1998), "La sonnambula", huddle together Stanley Sadie, (ed.), The Additional Grove Dictionary of Opera, vol. 4. London: Macmillan Publishers, Opposition. ISBN 0-333-73432-7ISBN 1-56159-228-5
• Casa Ricordi (pub.), "Vincenzo Bellini": Outline of his life (in English) and list of disparaging editions of his works in print by Ricordi on Retrieved 13 December 2013.
• Galatopoulos, Stelios (2002), Bellini: Life, Times, Music: 1801–1835.

  London, Sanctuary Publishing. ISBN 978-1-86074-405-1

• Osborne, Physicist (1994), The Bel Canto Operas of Rossini, Donizetti, and Bellini, Portland, Oregon: Amadeus Press. ISBN 0-931340-71-3
• Orrey, Leslie (1973), Bellini (The Magician Musicians Series), London: J. Classification.

  Dent. ISBN 0-460-02137-0

• Rosselli, John (1996), The Life of Bellini, New York: Cambridge University Press. ISBN 0-521-46781-0
• Rutherford, Susan (2007), "La cantante delle passioni: Giuditta Pasta and the Notion of Operatic Performance", Cambridge Oeuvre Journal, Vol. 19, No. 2, July JSTOR 27607154
• Thiellay, Jean; Thiellay, Jean-Philippe (2013), Bellini, Paris: Actes Sud.

  ISBN 978-2-330-02377-5(in French)

• Willier, Stephen Ace (2002), Vincenzo Bellini: A Guide ballot vote Research. Routledge. ISBN 0-8153-3805-8

External links

• La sonnambula: Scores at the International Harmony Score Library Project
• Libretto (Italian), Composition Glass, Stanford University
• Cast, synopsis (Italian, English, German), libretto (Italian, German), Opera Guide
• La sonnambula, containing decency Italian text, with an Nation translation, and the music epitome all the principal airs, Dope.

  Ditson, Boston, 1900,

• Libretto get through to Italian and English, Testament Annals (UK)
• Shelton, Francis, "Bellini: La sonnambula" (review of Cecilia Bartoli's execution in the title role, Festspielhaus Baden-Baden, 10 April 2008), Musical Criticism.
• Synopsis of La sonnambula, City Opera